ERIC VLOEIMANS OLIVER S CINEMA. jörg brinkmann - eric vloeimans - tuur florizoone

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1 ERIC VLOEIMANS OLIVER S CINEMA jörg brinkmann - eric vloeimans - tuur florizoone 1

2 1. Aladdin (Eric Vloeimans) 4:30 2. Prince Henri (Jörg Brinkmann) 4:45 3. Cinema Paradiso (Andrea Morricone) 4:25 4. Les Vapes (Eric Vloeimans) 4:04 5. L Amour des Moules (Tuur Florizoone) 3:48 6. Imagining (Eric Vloeimans) 3:26 7. Seggiano s Eve (Jörg Brinkmann) 1:13 8. Fellini s Waltz (Enrico Pieranunzi) 3:54 9. Slow Motion (Tuur Florizoone) 1: Rosemary s Baby (Krzysztof Komeda) 5: Papillon (Eric Vloeimans) 4: Slow Tango (Vloeimans/Brinkmann/Florizoone) 2: Bambi (Vloeimans/Brinkmann/Florizoone) 1: Rosa Turbinata (Rogier van Otterloo) 2:13

3 Eric Vloeimans - trumpet Tuur Florizoone - accordion Jörg Brinkmann - cello Executive producers: Marcel van den Broek & Anne de Jong A&R Buzz by Marcel van den Broek Recorded, mastered by Bert van der Wolf for Northstar Recording Services BV Photographs by Maarten Corbijn at Corbino Art direction by Marcel van den Broek Eric thanks : Tuur and Jörg for sharing their wonderful musicianship Luc de Vrij from The Singer Rijkevorsel for hyping me into Tuur, Marcel van den Broek, Anne de Jong, Hein van de Geyn, every one at Challenge, Bert van der Wolf, Maarten Corbijn, Europe Cultural Foundation, Kinan Azmeh, Erik van den Berg, Frank van Herk, Susanna von Canon, Ad en Riet Vloeimans and... Jacqueline Eric plays a Hub van Laar trumpet HOW OLIVER S CINEMA CAME ABOUT I used to think the accordion was a horrible instrument. An ugly, kitschy sound and a repertoire to match, from commercial tripe and oompah to waltzes for the elderly and circus drollery. In short, music to be given a wide berth. But developments never cease, and you suddenly notice that your opinion has changed. After years and years of studying music, mind you. Your taste buds change. It s just like with buttermilk, olives and tomatoes. As a child you hated them, and now you find you enjoy the taste. After thorough education at the dinner table, by the way. Trying a little bit, time and again. Incidentally, there are plenty of listeners who feel that mine is a horrible instrument. Loud, shrill, ugly, militaristic. Think of the Brouwer Brothers, Willy Schobben, Marty and all those other guys with their Golden Trumpets, playing Il Silencio and O mein Papa. I used to like that, but not anymore. Yes, taste remains a complex business. Back to the accordion. During one of my musical wanderings I wound up in the Belgian town of Rijkevorsel. After a concert there I was having a pint at the bar, and in this lovely Belgian atmosphere the accordion question reared its head again. Was there no accordion player to be found in Belgium that would suit me? But certainly, the response was, you want our Tuur, then! A CD of his was put on forthwith, and the wonderful improvisations by Tuur Florizoone enchanted me on the spot. An appointment with Tuur was quickly made. One phone call, and it was like meeting my brother. This was the beginning of a new duo, that by now can look back on a long series of successful concerts. There s another instrument I m completely in love with the cello. A sensual instrument, that can take over the task of a bass, but remains light and svelte. A bowed melody on the cello sounds gorgeous, like on a heavier viola, but still agile and pert. And now I m not only a fan of the instrument, but also of some 4 5

4 one who plays it magnificently. He knows his The thought wouldn t let go of me. The first Tuur brought the music he d written for a the performance that turned out fantastically classics, plucks like a jazz virtuoso, bows like occasion that presented itself was a concert documentary about mussels, l Amour des well. I gained another brother on the spot and a prince, and doesn t shy away from electron- at a beautiful open air theatre in Kersouwe, Moules. Jörg came up with Fellini s Waltz, and a new trio was born right there and then. ics either. He s from our neighboring country Brabant. Everyone brought their sheet music, my contribution consisted of music I d com- Germany, and his name is Jörg Brinkmann. we rehearsed right there for two hours, and posed for Majesteit, and the themes from the then went on stage straight away you can movies Rosemary s Baby and Cinema Paradiso. much brainstorming, I fooled around with ana- Can you imagine the glorious music the meet- discover the greatest things when you re put Without any conferring beforehand, this all grams. And you guessed it, another great gift: ing between Tuur and Jörg would produce? on the spot. came together wonderfully. A great gift, as was Eric Vloeimans = Oliver s Cinema. 6 How do you find a name for a new trio? After 7

5 ERIC VLOEIMANS Eric Vloeimans (Huizen, 1963) is an improvis- Baron. Taylor is also featured on Umai from with accordion player Tuur Florizoone and Vloeimans has performed as a soloist with clas- ing trumpeter and composer who regards the In 2001, Vloeimans won the coveted cellist Jörg Brinkmann, and a duo with pia- sical ensembles such as the Matangi Quartet, term jazz as too limiting to describe his music. Boy Edgar Prize, and in 2001 the Bird Award of nist Florian Weber, with a CD release : Live the Calefax Reed Quintet, the Metropole His work is characterized by melodic and lyri- the North Sea Jazz Festival. The CD s VoizNoiz at the Concertgebouw in Orchestra, the Gelderland Orchestra, the cal power, and a distinctive, individual sound 3 (with Michel Banabila, 2003), Summersault Limburg Symphony Orchestra, the Holland that is called velvety or whispering in the more (with Fugimundi, 2006) and Gatecrashin His broad range of interests has led Vloeimans Baroque Society, the Rotterdam Philharmonic subdued pieces. (with Gatecrash, 2007) were also awarded to collaborate with artists from other musical Orchestra and the Royal Concertgebouw Edisons. In addition, Eric was recipient of worlds. In the pop music area, these include Orchestra saw the premiere of his Between 1982 and 1988, Vloeimans studied at the Elly Ameling Prize as well as the Golden Fay Lovsky, Doe Maar, Spinvis, Jan Akkerman first trumpet concerto, Evensong, with the the Rotterdam Conservatory; classical trum- Nutcracker (2011) and trumpeter Kyteman (Colin Benders). Limburg Symphony Orchestra, orchestrated pet at first, later the jazz course. In 1989 he Kytecrash, the combination of the latter s by Martin Fondse, and recorded for CD with took lessons in the US with Donald Byrd and From 2006/2007 Eric Vloeimans has been hip-hop band and Gatecrash, resulted in suc- the Netherlands Symphony Orchestra. Eric formed part of the big bands of Frank Foster active with two much-praised formations: cessful performances and a CD in He Vloeimans is also artistic director of the 2013 and Mercer Ellington. the chamber jazz trio Fugimundi (Anton will be performing a series of concerts with National Youth Jazz Orchestra. Goudsmit guitar, Harmen Fraanje piano) and British classical pianist Joanna MacGregor in In the early Nineties Vloeimans was regarded the electric band Gatecrash, in which rock and the winter of 2013/2014. May 2013 as a member of a younger generation of musi- funk elements can be traced (Jeroen van Vliet cians who combine bebop with inf luences keyboards, Gulli Gudmundsson bass, Jasper Where world music is concerned, Vloeimans from rock and free improvisation, such as van Hulten drums). With the latter group, he was involved in projects with f lamenco Michiel Borstlap, Benjamin Herman and Yuri employs electronic effects in his trumpet play- guitarist Eric Vaarzon Morel, Latin pianist Honing. In 1998, the Edison-winning Bitches ing for the first time. Ramon Valle, and the fado-inspired Pessoa of and Fairy Tales was released, recorded with Fernando Lameirinhas. pianist John Taylor, bassist Marc Johnson and In addition, he continues to develop other drummer Joey projects, such as the band Oliver s Cinema 8 9

6 TUUR FLORIZOONE JÖRG BRINKMANN Although in the Low Countries the accordion is the folk and world music scene (Luka Bloom, Young, classically trained string players with His musical character is faithfully expressed in often still associated with corniness and banal Carlos Nuñes). He demonstrated his mastery of big, wide open ears have greatly enriched his own trio with pianist Oliver Maas and per- hi-jinx, in other cultures it has been a fully mood and atmosphere, based on simple, direct- Dutch improvised music in the past years. One cussionist Dirk-Peter Kölsch, with whom he respected instrument with a great expressive ly appealing material, in film soundtracks such of them is the German cellist Jörg Brinkmann recorded the album Ha! for ACT. In addition, range for many years. Especially in the hands as Aanrijding in Moscou which won him the (1976), who has studied at the Arnhem con- he s worked with Martin Fondse s Starvinsky of a composer and improviser with imagina- public prize at the WORLD SOUNDTRACK servatory. Just like the members of the ZAPP! Orkestar, Michiel Braam s Bik Bent Braam and tion and taste, such as one of Belgium s most AWARDS 2008 and L Amour des Moules. string quartet, whom he frequently plays with, many other adventurous jazz soloists. beloved musicians, Tuur Florizoone. This has As an improviser, he s at his best in open situ- he get his inspiration from anywhere; for him everything to do with his broad knowledge and ations with a lot of freedom and interaction, the jazz label is also too limiting. Brinkmann interests, his charisma and tangible joy in per- like in the group Tricycle, the collective trio is equally capable of making essential contribu- forming, and his gift for touching the heart of Massot/Florizoone/Horbaczewski, and in a tions to pop bands, theatre orchestras or cham- the music as well as that of the listeners. duo with diatonic accordionist Didier Laloy. ber music ensembles. Building on the technical innovations of improvising jazz musicians, he Florizoone (1978) has had classical piano les- can deploy his cello as a (rhythm) guitar, or as sons and studied jazz piano and composition a bass that lays down funk accents or swings at the conservatory. He gained some of his in four-four time. When he colors the sound practical experience in Brazil, such as at the of his instrument with electronics, it s done workshops of the great percussionist Nana in a subtle and tasteful way. In his playing and Vasconcelos, and by accompanying circus, his compositions a perfect fusion takes place dance and theatre shows. He collaborated of structure and personal variations, of cleanly with heavyweights from the worlds of jazz bowed lyricism and lively rhythms, in which (Philip Catherine, Garrett List), pop music he doesn t shy away from unusual time signa- (Stijn Meuris, Thé Lau), classical music (Claron tures either. McFadden, the Brussels Philharmonic) and 10 11

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8 This High Definition Surround Recording was Produced, Engineered and Edited by Bert van der Wolf of NorthStar Recording Services, using the High Quality Musical Surround Mastering principle. The basis of this recording principle is a realistic and holographic 3 dimensional representation of the musical instruments, voices and recording venue, according to traditional concert practice. For most older music this means a frontal representation of the musical performance, but such that width and depth of the ensemble and acoustic characteristics of the hall do resemblance real life as much as possible. Some older compositions, and many contemporary works do specifically ask for placement of musical instruments and voices over the full 360 degrees sound scape, and in these cases the recording is as realistic as possible, within the limits of the 5.1 Surround Sound standard. This requires a very innovative use of all 6 loudspeakers and the use of completely matched, full frequency range loudspeakers for all 5 discrete channels. A complementary sub-woofer, for the ultra low frequencies under 40Hz, is highly recommended to maximally benefit from the sound quality of this recording. This recording was produced with the use of Sonodore microphones, Avalon Acoustic monitoring, Siltech Mono-Crystal cabling and dcs Converters

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